[Todd Mcmullen]

well depending on size of warehouse (height) and budget, I would suggest product lighting it from above. you could build some long narrow soft boxes that you could hang from above and you would have a nice soft ambient top light. this would also eliminate the halogen lights that you deem nasty. then you could add some raking hard lights form various positions.I would think soft hmi(blue) lights would look nice on that black train. Another thought depending on where you are is to rent a lighting balloon. there are many different sizes and they are brilliant. may save you in cable and crew costs as well. tough to tell without seeing, but your initial lighting set up seems to limit you to only a few wide angles.but then again maybe that is all you need. also, you may find those halogens give you interesting highlights and reflections.

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

thanks all
As far as component through LHI, yes that is how I have captured before. However, I assumed I would get a better signal, better image, by going through an SDI pipeline. Now how much better is the question. My goal is to keep my finished image as close to the raw footage off the Betasp as much as possible.The reason is the betasp footage is old and not as clean in the first place.
I should also note that I am only re-digitizing a program and therefore looking for a more uncompressed signal.
thanks

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

thanks a bunch floh
and I look forward to the tutorials

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

thanks floh
the project is sd.and it is already prores with some clips proresHQ.
I have output a component out to DVCAM and quite frankly it just doesn’t look that sharp when it gets to DVD.(through firewire to DVD recorder)

so that is my dilema now> Do I redigitze the program in a master, on-line quality compression, whatever that may be,or do I go out of the LHI card to an HD master.

My ultimate goal is to get the best looking program, image wise, from the program timeline.(but whose isn’t right)

Some typical SD to HD workflows within M100 would be a tremendous resource.

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

It really depends. generally early morning or later in the evening.
This is if your time restraints allow for controlled shooting.
However, if you are on a tight schedule, like most projects these days, then eventually you will have to shoot in less than desirable light.
So if that is the case then you can hope for a few things:
1-its cloudy
2-the scene calls for the hot-high-noon look. (book of eli?)
3-you have no females you need to make look good in the scene
4-you can shoot the wides and silk the close-ups
5-you can block the scene under a tree or some other cover
While it is preferred and ideal to be able to shoot when you want, the reality is that it very rarely happens so you gotta adapt.
hope this helps

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

Thanks Floh
Great question
I guess I don’t need to go to HD at this time
Thanks for answers and insight
Btw, how does the software upres look
I assume it is a slow process

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

thank you peter

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

I am using a classic soft efx on a show I am shooting on a panavised f35
Never more than a 1 but sometimes highlights are a little blown out for my taste
But it cuts the edge fairly well

[Todd Mcmullen]

not sure if you shot this already but does the hallway have a few doorways you could put lights in? Do you have BG walking in hall?
are you shooting so wide you couldn’t put a few lights on skids to bounce?
but more important. why do you need a constant backlight?
also how about a 1×1 light panel with a snoot on a dimmer that you could control. i think it would look quite staged if you have a constant source of light on your subject as they walk in a hallway.
fwiw

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com

[Todd Mcmullen]

hmm
I think it comes down to what the scene/story dictates. I think in most cases focus is where the audience would expect it to be…ie…focus on the subject who is talking. however, lets say the person in the foreground is sharp and(facing camera) the person in the BG is soft and the one doing the talking. you would expect the person in the BG to be sharp because they are talking, but maybe the story and the moment is not what is being said but how the person in the foreground is hearing it.

Todd McMullen
Flip Flop Films
Austin
http://www.toddmcmullen.com